I got a huge load of hate mail and even death threats. I’m not used to that at all, it really scared me. … But apparently there were a lot of outraged Catholics. On the advice of my wife, I even removed our nameplate from the front door.

Piet Mondrian painted the work in 1902 or 1903. The painting Landscape near Arnhem is not described in any catalog and has never previously hung in a museum.

According to art specialist Odette van Ginkel the owner does not know much about the origin and how it came into the family. Van Ginkel believes the painting was sold fairly quickly probably after it was finished. Possibly therefore it has never appeared in a catalog.

Authenticity

There is little or no doubt about the authenticity of the painting. Dutch Institute for Art History RKD and the The Hague Municipal Museum reviewed the work.

A similar work by Piet Mondrian is known, painted from the same spot on the north side of the capital of Gelderland.

Tuesday

The painting is now officially approved and will be listed in the next catalog of Mondrian‘s work. Which will come out next spring.

The painting is estimated to be sold at between 120,000 and 180,000 euros. The work will be auctioned Tuesday at Christie’s in Amsterdam.

The Noordbrabants Museum in Den Bosch has acquired a watercolour by Vincent Van Gogh. It is The garden of the parsonage in Nuenen, the last known watercolour he made in Nuenen in 1885. The museum calls the work its most important purchase ever; a price has not been mentioned. The watercolour is the first experiment by Van Gogh with walking figures and couples in a garden.

This Van Gogh work fits according to the Noordbrabants Museum in their ambition to show an overview of the Brabant period of the artist.

Van Gogh lived for over a year and half with his parents in the parsonage in Nuenen. He made several works in the garden of the rectory. The painting which the master made of the garden was lost in World War II, and is known only from black and white reproductions.

Private collection

The work was probably acquired in 1903 by art critic and art teacher Hendrik Bremmer, who later became adviser of Helene Kröller-Müller. After his death the work stayed in his family and in 1969 ended up in the private collection where the museum now has acquired it from.

Who was Hieronymus Bosch? Why do his strange and fantastical paintings resonate with art lovers now more than ever? How does he bridge the medieval and Renaissance worlds? Where did his unconventional and timeless creations come from? Discover the answers to these questions and more with this remarkable new film from EXHIBITION ON SCREEN.

“After the election, I immediately knew I wanted to make some public art during my trip to Oklahoma in a few weeks for Thanksgiving,” the artist wrote in a comment in Instagram. “I wanted to make something in a very Republican state that was a challenge to whiteness. So, I used a couple of recent drawings, one old drawing, and a drawing I did the day before installing this of my mother, to put together a diverse group of folks.”

The piece reads: “America is black. It is Native. It wears a hijab. It is a Spanish speaking tongue. It is migrant. It is a woman. It is here. Has been here. And it’s not going anywhere.”

“This piece was done specifically to challenge whiteness and the accepted idea of who an American is,” Fazlalizadeh wrote in an email to The Huffington Post. “This work is located in Oklahoma, a very red, Republican state. The site of this piece is just as important to its intent. This work is declaring that people who are non-white and male are a part of this country, are integral to this country, and are not going anywhere.”

The election of Donald Trump has ignited incensed artists and writers around the country, turning creatives into activists. Fazlalizadeh, however, used her artistic prowess to fight social injustice long before Trump was announced president elect.

If you are in the Oklahoma City area and wish to see Fazlalizadeh’s work in person, don’t hesitate; the piece, installed using wheatpaste, is meant to be ephemeral. Given its public setting, it could also be subjected to vandalism or other visual reactions.

On Sunday, theatrical activists BP or not BP? pulled off our most ambitious performance to date. Two hundred performers took over the British Museum’s Great Court with an hour-long, multi-act, musical performance to flood the museum’s dirty sponsor, BP, out of the space. The unsanctioned theatrical action culminated in a climactic battle with a 40-foot BP-branded sea monster that we managed to smuggle into the museum.

Referring to a current exhibition at the museum, Ms Knight added: “When it allowed BP to sponsor Sunken Cities, the museum invented a whole new kind of climate denial.

“Now the museum needs to get on the right side of history, draw a red line and drop BP.”

Monica Hunken, a theatre performer and activist from the US, said: “My home city of New York will sink beneath the waves by 2060 unless bold action is taken on climate change — and that’s only possible if the anti-science stance of Donald Trump is challenged and overridden.

“With a genuine climate denier about to enter the White House and anti-science lobbyists in the ascent, it is more crucial than ever that the British Museum joins the cultural shift away from fossil fuels.”

On Saturday, BP or not BP? Scotland gate-crashed the opening of the BP Portrait Award ceremony in Edinburgh.

Activists dotted around the gallery launched into an unsanctioned toast calling for BP to be dropped, while protesters dressed as oil workers greeted guests outside with flyers.

Donald Trump Still Thinks Climate Change Is ‘A Bunch Of Bunk’. His presidency will likely be disastrous for global efforts to mitigate climate change: here.

BRITISH cartoonists led by Martin Rowson gave a standing ovation in solidarity with detained Turkish cartoonist Musa Kart, who faces jail for sedition.

The tribute was paid on Tuesday night at the annual Cartoon Art Trust awards held at the Mall Galleries in central London.

British Cartoonists’ Association chairman Mr Rowson reminded the 160 people attending the awards dinner that at the end of a turbulent year for both Britain and the world, it was “more important than ever to fight for the freedom to laugh in order to stop us all going mad in the face of events.”